Difference between revisions of "Music"
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| name =Music | | name =Music | ||
| deckversion =1.0 | | deckversion =1.0 | ||
| − | | | + | | v10synopsis =All kinds of music heard during the game |
| + | | v20synopsis =All kinds of music heard during the game | ||
| patternpresentation = | | patternpresentation = | ||
| cardpresentation= | | cardpresentation= | ||
| − | | | + | | v10frontface =Music-front-v10.png |
| − | | | + | | v10backface =Music-back-v10.png |
| + | | v20frontface =Music-front-v20.png | ||
| + | | v20backface =Music-back-v20.png | ||
| screenshots= | | screenshots= | ||
| − | | | + | | v10rel-tag1=Many contexts, including:<br> |
| − | | | + | | v10rel1=[[Entrainment]], [[Relaxation]], [[Anticipation]], [[Engagement]], [[Decay]], [[Emotional Script]], [[Trance]], [[Narrative]], [[Window of Opportunity]], [[ Diegetic Music]], [[Contextual Music]], [[ Musical Outcome]], [[Signature]], [[...]]<br> |
| − | | | + | | v10rel-tag2=Relates to:<br> |
| − | | | + | | v10rel2=[[Acoustic Ecology]]<br> |
| − | | | + | | v10rel-tag3=Calls for:<br> |
| − | | | + | | v10rel3=[[Variety]]<br> |
| + | | v20rel-tag1=Many contexts, including:<br> | ||
| + | | v20rel1=[[Entrainment]], [[Relaxation]], [[Anticipation]], [[Engagement]], [[Decay]], [[Emotional Script]], [[Trance]], [[Narrative]], [[Window of Opportunity]], [[ Diegetic Music]], [[Contextual Music]], [[ Musical Outcome]], [[Signature]], [[...]]<br> | ||
| + | | v20rel-tag2=Relates to:<br> | ||
| + | | v20rel2=[[Acoustic Ecology]]<br> | ||
| + | | v20rel-tag3=Calls for:<br> | ||
| + | | v20rel3=[[Variety]]<br> | ||
| revisions =Introduced in version 1.0 | | revisions =Introduced in version 1.0 | ||
| description = | | description = | ||
| − | [[Music]] is the most widely used of the [[Sound Layers | + | [[Music]] is the most widely used of the [[Sound Layers]] in game design. That is even more noticeable in not so recent games, when, due to technical limitations and less sophistication in game development, there was less investment in other layers ([[Ambiance]], [[Foley]], [[Sound Effects]], [[Dialogue]]). Modern complex games, tend to fit [[Music]] in an involving [[Acoustic Ecology]] sometimes even being part of game world itself ([[Diegetic Music]]). Still, the extent of the explorations is highly dependent on the characteristics of the game. |
| − | [[Music]] is a major tool in the design of all the typical phases of | + | [[Music]] is a major tool in the design of all the typical phases of gameplay: [[Relaxation]], [[Anticipation]], [[Engagement]] and [[Decay]]. |
| − | It is argued that the use of [[Music]] in games is still strongly influenced by the practice in cinema and by the fact that many sound designers work and were educated in that industry [ | + | It is argued that the use of [[Music]] in games is still strongly influenced by the practice in cinema and by the fact that many sound designers work and were educated in that industry [pending: ref]. There is also extensive discussion about the limitations of cinema-like [[Music]] in games, considering differences such as interactivity, variable duration of scenes, possible long periods of exposition (that demand [[Variety]]), potential unpredictability, etc. [pending:e.g., ref]. |
| − | Music, as field, has historically developed and refined many techniques that have proven to tackle human emotions. Examples are the use of [[Entrainment]] to influence the [[Emotional Script]] or reach [[Trance]], by progressively changing tempo and dynamics. | + | [[Music]], as field, has historically developed and refined many techniques that have proven to tackle human emotions. Examples are the use of [[Entrainment]] to influence the [[Emotional Script]] or reach [[Trance]], by progressively changing tempo and dynamics. |
Some games exhibit [[Contextual Music]], depending on the space in the game world and/or game level and/or particular circumstances of the gameplay including [[Window of Opportunity|Windows of Opportunity]]. | Some games exhibit [[Contextual Music]], depending on the space in the game world and/or game level and/or particular circumstances of the gameplay including [[Window of Opportunity|Windows of Opportunity]]. | ||
| − | Some game | + | Some game genres focus on [[Music]], making it part of the gameplay, either in terms of performance ([[Rhythm Gameplay]], [[Pitch Gameplay]], [[Sing to Act]]) or in terms of the output of the player's actions ([[Musical Outcome]]). |
| additional= | | additional= | ||
[pending: add links to the specificities of [[Music]] in games, namely when compared to film music] | [pending: add links to the specificities of [[Music]] in games, namely when compared to film music] | ||
| examples= | | examples= | ||
| − | | ex1=<mt p="Music" g="Portal" w="{{R8by5W}}" h="{{R8by5H}}">The song "Still Alive" performed by GLaDOS's [[Voice Acting|Voice Actor]] has been highly praised. The song is heard in the end of the game, though a | + | | ex1=<mt p="Music" g="Portal" w="{{R8by5W}}" h="{{R8by5H}}">The song "Still Alive" performed by GLaDOS's [[Voice Acting|Voice Actor]] has been highly praised. The song is heard in the end of the game, though a "peppy" instrumental version can be heard during the gameplay in scattered [[Radio]]s. The lyrics contain aspects contributing (or adding) to the [[Narrative]].</mt> |
| ex2=<mt p="Music" g="Everyday Shooter" w="{{R16by9W}}" h="{{R16by9H}}"></mt> | | ex2=<mt p="Music" g="Everyday Shooter" w="{{R16by9W}}" h="{{R16by9H}}"></mt> | ||
| − | | ex3=<mt p="Music" g=" | + | | ex3=<mt p="Music" g="LocoRoco" w="{{R16by9W}}" h="{{R16by9H}}"></mt> |
| − | | ex4=<mt p="Music" g=" | + | | ex4=<mt p="Music" g="Tomb Raider Underworld" w="{{R16by9W}}" h="{{R16by9H}}"></mt> |
| − | | ex5=<mt p="Music" g=" | + | | ex5=<mt p="Music" g="Uncharted 2" altg="Uncharted 2: Among Thieves" w="{{R16by9W}}" h="{{R16by9H}}"></mt> |
| − | | ex6=<mt p="Music" g="Chaos Theory" altg="Tom Clancy's Splinter Cell | + | | ex6=<mt p="Music" g="The Path" w="{{R32by17W}}" h="{{R32by17H}}"></mt> |
| − | | | + | | ex7=<mt p="Music" g="Chaos Theory" altg="Tom Clancy's Splinter Cell Chaos Theory" w="{{R5by4W}}" h="{{R5by4H}}"></mt> |
| − | | | + | | ex8=<mt p="Music" g="Half Life 2" altg="Half-Life 2" w="{{R8by5W}}" h="{{R8by5H}}">[[Music]] prepares and supports the haste of a fight.</mt> |
| − | | | + | | ex9=<mt p="Music" g="Deadly Premonition" w="{{R16by9W}}" h="{{R16by9H}}"></mt> |
| − | | | + | | ex10=<mt p="Music" g="Ice Age 3" w="{{ViPhoneH}}" h="{{ViPhoneW}}"></mt> |
| − | | | + | | ex11=<mt p="Music" g="PBWinterbottom" altg="The Misadventures of P.B. Winterbottom" w="{{R16by9W}}" h="{{R16by9H}}"></mt> |
| + | | ex12=<mt p="Music" g="Halo" altg="Halo: Reach" w="{{R16by9W}}" h="{{R16by9H}}"></mt> | ||
| + | |||
| + | <!--| ex12=<mt p="Music" g="Papa Sangre" w="{{ViPhoneH}}" h="{{ViPhoneW}}"></mt>--> | ||
| + | |external= | ||
| + |
<ref name="Juslin"/><ref name="Collins2008a"/><ref name="Whalen2004"/><ref name="WhartonCollins2011"/> | ||
| + | |showrefs=1 | ||
}} | }} | ||
Latest revision as of 03:00, 26 August 2012
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| The card's front face | The card's back face |
Synopsis
| All kinds of music heard during the game. |
Relationships
Many contexts, including:
Entrainment 
, Relaxation 
, Anticipation 
, Engagement 
, Decay 
, Emotional Script 
, Trance 
, Narrative 
, Window of Opportunity 
, Diegetic Music 
, Contextual Music 
, Musical Outcome 
, Signature 
, ....
Relates to:
Acoustic Ecology 
.
Calls for:
Variety 
.
Description
Music is the most widely used of the Sound Layers in game design. That is even more noticeable in not so recent games, when, due to technical limitations and less sophistication in game development, there was less investment in other layers (Ambiance, Foley, Sound Effects, Dialogue). Modern complex games, tend to fit Music in an involving Acoustic Ecology sometimes even being part of game world itself (Diegetic Music). Still, the extent of the explorations is highly dependent on the characteristics of the game.
Music is a major tool in the design of all the typical phases of gameplay: Relaxation, Anticipation, Engagement and Decay.
It is argued that the use of Music in games is still strongly influenced by the practice in cinema and by the fact that many sound designers work and were educated in that industry [pending: ref]. There is also extensive discussion about the limitations of cinema-like Music in games, considering differences such as interactivity, variable duration of scenes, possible long periods of exposition (that demand Variety), potential unpredictability, etc. [pending:e.g., ref].
Music, as field, has historically developed and refined many techniques that have proven to tackle human emotions. Examples are the use of Entrainment to influence the Emotional Script or reach Trance, by progressively changing tempo and dynamics.
Some games exhibit Contextual Music, depending on the space in the game world and/or game level and/or particular circumstances of the gameplay including Windows of Opportunity.
Some game genres focus on Music, making it part of the gameplay, either in terms of performance (Rhythm Gameplay, Pitch Gameplay, Sing to Act) or in terms of the output of the player's actions (Musical Outcome).
Examples
    |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
Additional Comments
[pending: add links to the specificities of Music in games, namely when compared to film music]
External Resources
References
- ↑ Juslin, P. N., & Sloboda, J. A. Eds.. 2001. Music and emotion: Theory and research. Oxford: OUP.
- ↑ Collins, K. 2008a. Game sound: An introduction to the history, theory, and practice of video game music and sound design. Cambridge, MA: MIT Press.
- ↑ Whalen, Z. (2004). Play Along - An Approach to Videogame Music. Gamestudies, 4(1). Retrieved from http://www.gamestudies.org/0401/whalen
- ↑ Wharton, A., & Collins, K. (2011). Subjective Measures of the Influence of Music Customization on the Video Game Play Experience: A Pilot Study. Gamestudies, 11(2). Retrieved from http://gamestudies.org/1102/articles/wharton_collins
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